【新唐人2013年07月19日讯】中共国务院今年组建“新闻出版广播电影电视总局”，中共党媒周四公布了新的电影审查制度，其中“一般性剧本”审查将被取消，而其他出版、影视、新闻等领域，也释放不同程度的监管权力。不过，这项所谓的新规定，2006年早已出台。业内人士认为，中共面临日益严重的经济危机，而想利用文化市场刺激经济，增加GDP，所以才“旧规”重提。
7月17号，大陆媒体公布了“新闻出版广电总局”机构和人员的编制规定，其中列出了21条要“取消的职能”、8项职能下放事项、以及7项职能加强事项。
今年3月，中共新领导班子上台后，进行所谓国务院大部制改革，重新整合后的“新闻出版广电总局”的职责也作出相应调整。在“取消的职能”中，包括取消一般题材的电影剧本审查，实行梗概公示。
实际上，这项规定在2006年6月22号实施的“电影剧本备案、电影片管理规定”中已有规定。但多年来，中共对电影的审查却没有丝毫放松。
北京艺术家、独立制片人杨伟东因拍摄大型记录片《需要》，而遭到中共当局的长期打压。
北京艺术家、独立制片人杨伟东：“它就说我采访了很多敏感的人，说我们的访谈殃及影响到国家和政治的安全。它审查了我至少将近两年了，什么结果也没有。”
今年47岁的杨伟东，从2008年开始，将近3年时间，采访了大约260名中国社会各界的人士，他希望透过访谈和记录片形式，反映社会的价值观，和人们对信仰、自由的看法。
而最近的规定说“取消一般题材电影剧本审查，实行梗概公示”究竟什么是一般题材？什么是特殊或敏感题材？对此，中共并没有一个明确的界定。
杨伟东：“它没有标准嘛，假使就是说，只要它涉及到它自己的利益的时候，它就说这个是敏感的（题材）。”
中共当局对电影导演的打压、及电影题材的审查由来已久，大陆导演无不深受其害，敢怒不敢言。对于这项“旧规”重提，各界反应不一。
大陆诗人和文化评论家叶匡政指出，取消剧本审查这一点，看似宽松，但在审查成片时如果发生争议，导演更无据可依了。
大陆诗人、文化评论家叶匡政：“并不是说它每一个审查禁令都是由某一个人，或者某一个最高长官，然后它经过系统周密的考查或者认证得出来的，但是因为一个禁令要出来的话，你必须要平衡各方意见，它可能就最后成了一个就大家不知道它背后究竟是什么逻辑。”
中国诗人李南：“我估计是，可能是有几股势力，完了以后互相妥协的结果。”
在中国，常年在中共严酷的电影审查制度下，敢于揭露真相的导演已不多，许多导演为了生存，早就习惯了自律。
原《河北人民广播电台》编辑朱欣欣：“中国的文化市场表面上看，轰轰烈烈很热闹，实际上质量低下，题材重复，都拥挤在很狭窄的范围内，同时也束缚了广大的文学艺术创造者的才能、才智得不到发挥，观众又不满意，这样的市场它必然是畸形的和萎缩的。”
六四前夕，北京的《纽约时报》特约摄影记者杜斌，因拍摄揭露辽宁“马三家女子劳教所”酷刑的记录片《小鬼头上的女人》及《天安门屠杀》一书，被中共以“涉嫌扰乱公共场所秩序”的罪名关押。目前，杜斌被取保候审。
对于这次“旧规”重提，朱欣欣认为，目前中共面临着严重的经济危机，想利用文化市场刺激一下经济，增加GDP，但是，对于当局认为的敏感题材一样还会被审查。
采访编辑/李韵 后制/陈建铭
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Screenplay Censorship Cancellation: Old Wine In a New Bottle
China’s State Council has reconstructed its State Administration of Radio, Film and Television (SARFT). A new film censorship regulation was announced on July 18. Censorship for “general-topic” film scripts is cancelled.
In other fields including publishing, TV, and journalism, censorship is also lifted, to some extent. However, the cancellation is actually putting old wine into a new bottle, which existed as early as in 2006. Cultural professionals speculate that the Chinese Communist Party (CCP) authorities are trying to revitalize an ailing economy, by appearing to relax cultural market constraints.
On July 17, a new regulation on SARFT administration and function adjustment was officially released. It cancels 21 original functions of the SARFT, and decentralizes another eight.
Back in March, the CCP new administration initiated a Big-Ministry Reconstruction. The role of the newly formed SARFT has changed accordingly. Now only film synopses, instead of full scripts, have to be submitted for film shooting approval.
However, an earlier regulation on screenplay registration, and film administration, recorded the same content, which took effect in June 2006. Since then, film censorship by the CCP authorities has never been relaxed in practice.
Yang Weidong, Beijing independent filmmaker, has been suppressed for years by the CCP. He had shot a large-scale documentary film —— “The Need".
Yang Weidong: “CCP authorities accused me of affecting national and political security negatively, since I had interviewed lots of “sensitive” figures. The censorship has lasted for nearly two years, but I still have no result.”
Yang, aged 47, has interviewed about 260 people from all sectors of China’s society since 2008. He wants, by means of interviews and documentary film, to reflect social values, and to report on people’s views on faith and freedom.
But what is a “general” topic? And what is a “non-general” topic? Neither of these two categories has been clearly defined by the authorities.
Yang Weidong: “There’re no clear criteria available. If the film violates CCP interests, it will just be put into a sensitive-category, and censored."
The CCP’s suppression of film makers and its censorship of film have long existed in China. Most mainland filmmakers have always suffered in silence. So far, this “old wine in a new bottle” has sparked different reactions.
Ye Kuangzheng, cultural critic and poet in China, says it seems to lift a ban on scripts’ censorship. Yet, when a dispute arises during film censorship, producers had no traceable criteria to rely upon.
Ye Kuangzheng: “It doesn’t mean that rule of the censorship based on the censors’ systematic thinking or examination. In fact, when an order of censorship issued, you need to balance the views of all parties, finally, the approved scenes often lose implicit logical links.”
(Poet, China) Li Nan: “I think this may be a compromise by several different parties.”
In China, under the harsh film censorship system, there have been very few truth-telling directors. In order to survive, many directors have been forced to accustom themselves to self-discipline.
(ex-editor, Hebei state radio) Zhu Xinxin: “Outwardly, China’s cultural market is quite vigorous. Actually it’s full of products of poor quality and topical repetition. Room for creativity is very limited, and neither are audiences satisfied. Such a market is warped and bound to be contracted. “
On the eve of June 4th, Du Bin, freelance photographer with the New York Times, was detained in China. He was the director of a documentary film, “Wowem Above Ghosts’ Heads”, and the author of a book, “Tiananmen Massacre”. The CCP authorities have charged him with “suspicion of disturbing public order”. Currently, Du Bin has been released on bail.
Zhu Xinxin comments on the CCP’s “new-bottle” announcement of the cancellation of film script censorship. It is to stimulate the economy by appearing to relax constraints on the cultural market, Zhu says. Whilst films on sensitive topics will still be censorship candidates, Zhu believes.
